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Reference files about the history of the Whitney Studio, Whitney Studio Club, and Whitney StudiGalleries, 1949-1982.

SUMMARY. Bibliographic research notes, texts and notes of artists' recollecitons and interviews; clippings and copies of contemporary and later press articles. Many papers comment widely on the New York art world, 1905-30, with special reference to life in Greenwich Village.

SERIES I. Lloyd Goodrich: histories, ca. 1949-60. Drafts of Lloyd Goodrich's introductory essays on the museum's history, with finished abstracts of research conducted by Rosalind Irvine through interviews and examination of sources (f.32-33).

SERIES II. Lloyd Goodrich: research papers, ca. 1949. Includes copies and notes from bibliographies, newspaper sources, and the Gertrude Vanderbilt Whitney scrapbook (f.34).

SERIES IV. Personal interviews and recollections, 1949. Summaries of six interviews conducted by Rosalind Irvine on the early history of the Whitney with the critic and editor Forbes Watson and the artists Blendon Campbell, Max Kuehne, Bernard Karfiol, Jo Davidson, and Katherine Schmidt (f.38). With a larger text of John Sloan (f.43) and notes by Blendon Campbell on artists in MacDougal Alley in 1905-6 (f.44). Interviews include personal recollections of Gertrude Vanderbilt Whitney and Juliana Force and give some assessment of their place and that of the Studio Club in advancing the careers of young artists. Sloan's recollections include - in addition to his reminiscences of the Whitney Studio and Studio Club - an account of the efforts of The Eight to gain independent exhibition space and of their role in the Armory Show. He also comments on Gertrude Vanderbilt Whitney's patronage of artists and other artists' organizations; on Juliana Force's role in the U.S. Treasury's Public Works of Art Project, 1933-34 and the W.P.A., and on the conditions in which he believed artists should work. With copy of letter of William Robb, 1982, about his association with Forbes Watson and The Arts Magazine (f.44).

SERIES V. Recollections of Stuart Davis, 1953. A six-page WNYC radio script, Recollections of the Whitney, written and read by Davis, and 14 pages of notes of a preparatory interview with Hermon More and John I.H. Baur (9.29.53). Much of Davis's recollection consists of an anecdotal history of the Studio Club, with a lengthy comment on George Luks and the Indigenous Exhibition of 1918. The interview also includes comments on Davis's period in Paris and his purposes and methods, on the influence and teaching of Robert Henri, on the attitude of New York artists to European art and modernism; on the Penguin Club; and on the relationship of artists in his circle to The Masses and to leftwing ideas in general (f.42).

SERIES VI. Miscellaneous research papers. Copies of clippings, extracts from interviews. Includes a copy print with Avis Bermon's comments on it of Gifford Beal's painting of the Indigenous Exhibition of 1918 (f.45).

Abstract:

SUMMARY. Bibliographic research notes, texts and notes of artists' recollecitons and interviews; clippings and copies of contemporary and later press articles. Many papers comment widely on the New York art world, 1905-30, with special reference to life in Greenwich Village.

SERIES I. Lloyd Goodrich: histories, ca. 1949-60. Drafts of Lloyd Goodrich's introductory essays on the museum's history, with finished abstracts of research conducted by Rosalind Irvine through interviews and examination of sources (f.32-33).

SERIES II. Lloyd Goodrich: research papers, ca. 1949. Includes copies and notes from bibliographies, newspaper sources, and the Gertrude Vanderbilt Whitney scrapbook (f.34).

SERIES IV. Personal interviews and recollections, 1949. Summaries of six interviews conducted by Rosalind Irvine on the early history of the Whitney with the critic and editor Forbes Watson and the artists Blendon Campbell, Max Kuehne, Bernard Karfiol, Jo Davidson, and Katherine Schmidt (f.38). With a larger text of John Sloan (f.43) and notes by Blendon Campbell on artists in MacDougal Alley in 1905-6 (f.44). Interviews include personal recollections of Gertrude Vanderbilt Whitney and Juliana Force and give some assessment of their place and that of the Studio Club in advancing the careers of young artists. Sloan's recollections include - in addition to his reminiscences of the Whitney Studio and Studio Club - an account of the efforts of The Eight to gain independent exhibition space and of their role in the Armory Show. He also comments on Gertrude Vanderbilt Whitney's patronage of artists and other artists' organizations; on Juliana Force's role in the U.S. Treasury's Public Works of Art Project, 1933-34 and the W.P.A., and on the conditions in which he believed artists should work. With copy of letter of William Robb, 1982, about his association with Forbes Watson and The Arts Magazine (f.44).

SERIES V. Recollections of Stuart Davis, 1953. A six-page WNYC radio script, Recollections of the Whitney, written and read by Davis, and 14 pages of notes of a preparatory interview with Hermon More and John I.H. Baur (9.29.53). Much of Davis's recollection consists of an anecdotal history of the Studio Club, with a lengthy comment on George Luks and the Indigenous Exhibition of 1918. The interview also includes comments on Davis's period in Paris and his purposes and methods, on the influence and teaching of Robert Henri, on the attitude of New York artists to European art and modernism; on the Penguin Club; and on the relationship of artists in his circle to The Masses and to leftwing ideas in general (f.42).

SERIES VI. Miscellaneous research papers. Copies of clippings, extracts from interviews. Includes a copy print with Avis Bermon's comments on it of Gifford Beal's painting of the Indigenous Exhibition of 1918 (f.45).

"SUMMARY. Bibliographic research notes, texts and notes of artists' recollecitons and interviews; clippings and copies of contemporary and later press articles. Many papers comment widely on the New York art world, 1905-30, with special reference to life in Greenwich Village."@en

"SERIES V. Recollections of Stuart Davis, 1953. A six-page WNYC radio script, Recollections of the Whitney, written and read by Davis, and 14 pages of notes of a preparatory interview with Hermon More and John I.H. Baur (9.29.53). Much of Davis's recollection consists of an anecdotal history of the Studio Club, with a lengthy comment on George Luks and the Indigenous Exhibition of 1918. The interview also includes comments on Davis's period in Paris and his purposes and methods, on the influence and teaching of Robert Henri, on the attitude of New York artists to European art and modernism; on the Penguin Club; and on the relationship of artists in his circle to The Masses and to leftwing ideas in general (f.42)."@en

"SERIES IV. Personal interviews and recollections, 1949. Summaries of six interviews conducted by Rosalind Irvine on the early history of the Whitney with the critic and editor Forbes Watson and the artists Blendon Campbell, Max Kuehne, Bernard Karfiol, Jo Davidson, and Katherine Schmidt (f.38). With a larger text of John Sloan (f.43) and notes by Blendon Campbell on artists in MacDougal Alley in 1905-6 (f.44). Interviews include personal recollections of Gertrude Vanderbilt Whitney and Juliana Force and give some assessment of their place and that of the Studio Club in advancing the careers of young artists. Sloan's recollections include - in addition to his reminiscences of the Whitney Studio and Studio Club - an account of the efforts of The Eight to gain independent exhibition space and of their role in the Armory Show. He also comments on Gertrude Vanderbilt Whitney's patronage of artists and other artists' organizations; on Juliana Force's role in the U.S. Treasury's Public Works of Art Project, 1933-34 and the W.P.A., and on the conditions in which he believed artists should work. With copy of letter of William Robb, 1982, about his association with Forbes Watson and The Arts Magazine (f.44)."@en

"SERIES VI. Miscellaneous research papers. Copies of clippings, extracts from interviews. Includes a copy print with Avis Bermon's comments on it of Gifford Beal's painting of the Indigenous Exhibition of 1918 (f.45)."@en